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In 2003, for the second year running, the Paris municipality entrusted a young theater designer with the transformation of one stretch of the banks of the Seine River—normally congested with heavy traffic—into an open space evocative of the seaside. Paris in August is therefore Paris by the seaside. The objective of our study is to examine the entire operation, from the moment the political decision was taken by the municipality to the many and varied activities of all those who participated. Through this study, we attempt to highlight the different forms of material and symbolic (re)creation of Paris being undertaken today. We show that in a situation such as this, a reflection on the fieldwork undertaken and the production of ethnographic knowledge is in fact the key factor in the analysis.

Soundscape is about relationships between the ear, human beings, sound environments, and society. Soundscape research is interdisciplinary. On the basis of a series of case studies in Europe and China and an intensive literature review, the soundscape description, evaluation, and creation in urban open spaces are systematically examined, in terms of four basic elements: sound, space, people, and environment. Factors affecting soundscape evaluation in urban open spaces, including acoustic - psychological - social characteristics of various sounds, acoustic effects of space boundaries and elements, social - demographic characteristics of users, and general physical - environmental conditions, are identified, and, consequently, a system for soundscape description is established. Potentials of creating and designing soundscape in urban spaces are then discussed in terms of sound and space.

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This article presents a field study conducted in a public park in a major city of southern France. Using a comprehensive approach and an ethnographic method, the goal is to gain insight into the everyday activities that govern the use of public space. By granting meaning to actions considered useless and insignificant, the purpose of this article is to understand how the sharing of public space, in particular the overcrowding observed in Borely Park, participates in youth socialization. People’s experiences and interactions in a public park create ties between them. The sharing of places, and the impressions generated as a result, help bring peers closer together while also bridging the generation gap. Through its description of how the youth use this metropolitan park, this study highlights the importance of the sense dimension in the building of societies. Finally, this work argues that youth are continually learning to live together without really realizing it.

In this article I explore how an integrated approach to the anthropological study of urban space would work ethnographically. I discuss four areas of spatial/cultural analysis—historical emergence, sociopolitical and economic structuring, patterns of social use, and experiential meanings—as a means of working out of the methodological implications of broader social construction theoretical perspectives. Two plazas in San Jose, Costa Rica, furnish ethnographic illustrations of the social mediating processes of spatial practices, symbolic meaning, and social control that provide insight into the conflicts that arise as different groups and sociopolitical forces struggle to claim and define these culturally significant public spaces.

The Israeli protest movement 'Women in Black' is studied by focusing on the movement's mode of protest, which is used as a prism through which to analyse the manner in which the structure, contents and goals of protest challenge the socio-political and gender orders. The article analyses the protest vigil of 'Women in Black' in Jerusalem, and characterizes it, following Handelman (1990), as a minimalist public event. After examining and analysing the sources of minimalism it was concluded that minimalism was the result of two social processes attendant at the formation of 'Women in Black' as a social movement: personal interpretation of the political field, and avoidance of ideological deliberation amongst the participants. The minimalism of the public event preserved the movement for six years and created a collective identity that emphasized the symbolic difference between those within the demonstration and those outside it. This difference was symbolized by a juxtaposition of opposites. The essence of opposites is analysed by means of 'thick description', i.e., by deciphering them in the context of Israeli society. The study concluded that the mode of protest of 'Women in Black' has created a symbolic space in which a new type of political woman is enacted. This identity challenges established socio-cultural categories Israel.

The increasing involvement of the private sector in the design and management of urban public space has prompted some critical scholars to predict the ‘end of public space’. This study reassesses the implications of private sector involvement through a comparative analysis of British and Dutch urban spaces, based on a threefold critique of the existing literature on the privatization of public space. The analysis is governed by a new model of pseudo-public space that consists of four dimensions of ‘publicness’: ownership, management, accessibility and inclusiveness (OMAI). The findings suggest that, while there are significant differences between the British and the Dutch cases, neither context supports the notion of a possible ‘end of public space’ in any literal sense.

Landscape urbanism is articulated against the purported failures of traditional urban design practices to conceptualize adequately the transience, adaptability, and ecological complexity demanded by contemporary urbanism. This paper engages Giambattista Nolli’s 1748 map of Rome, a seminal example of the figure ground representational method, to highlight some contradictions in landscape urbanism’s texts and projects. Whereas the figure ground is often reduced to a binary black and white image, Nolli’s map illustrates the intertwining of public and private spaces, through rendering detailed attributes of site, infrastructure, history, and architecture. Also considered is the asser- tive restructuring of disciplinary influence within what Linda Pollak identifies as ‘con- structed ground.’ This reclamation constitutes a re-territorializing of landscape architecture through re-engagement of the urban fabric, as well as the more aspirational and necessary re-territorializing of design through intentional consideration of ecological complexity in the making of public urban spaces.

Art in public space in South Africa is increasingly a more visible locus of sociopolitical resistance and recalibration of the public sphere. This article focuses upon an emblematic example: the sculpture of a former colonialist, removed from its public university site in Cape Town following sustained protests. Since April 2015, the empty plinth of Cecil John Rhodes has become a site of re-imagination – from graffiti interventions to performance and installation art. While the plinth continually morphs in symbolism and significance, its ousted artwork waits at an undisclosed location for its fate to be decided. This interregnum represents a liminal condition that theorists call ‘third space’, extended in this research towards a fourth dimension of performativity. The physical disappearance of the artwork has triggered a second life, its apogee a national protest movement with global resonance. Rhodes Must Fall and Fees Must Fall are student-led calls for university decolonisation and free education arguably best understood as provocation around systemic issues in society. As this deeper work ensues amid fractious contestations, the artwork's re-animation of the public sphere is clear. Its leftover plinth is political, making visible other kinds of structural voids. It is also poetic: a zombie monument demonstrating through its reinventions public space as common space – contested, negotiated and performed in the daily creation of city futures.